A profound meditation on accepting, and celebrating, one’s solitude. Whether seeking more time for solitude or suffering what seems a surfeit of it, readers will find the best of companions here. Fenton Johnson’s lyrical prose and searching sensibility explores what it means to choose to be solitary and celebrates the notion, common in his Roman Catholic childhood, that solitude is a legitimate and dignified calling. He delves into the lives and works of nearly a dozen iconic “solitaries” he considers his kindred spirits, from Thoreau at Walden Pond and Emily Dickinson in Amherst, to Bill Cunningham photographing the streets of New York; from Cézanne (married, but solitary nonetheless) painting Mont Sainte-Victoire over and over again, to the fiercely self-protective Zora Neale Hurston. Each character portrait is full of intense detail, the bright wakes they’ve left behind illuminating Fenton Johnson’s own journey from his childhood in the backwoods of Kentucky to his travels alone throughout the world and the people he has lost and found along the way. Combining memoir, social criticism, and devoted research, At the Center of All Beauty will resonate with solitaries and with anyone who might wish to carve out more space for solitude.

A best book of the year from New York Public Library, NPR, the Financial Times, Book Riot, and the Sunday Times (London). A fascinating, revelatory portrait of the Metropolitan Museum of Art and its treasures by a former New Yorker staffer who spent a decade as a museum guard. Millions of people climb the grand marble staircase to visit the Metropolitan Museum of Art every year. But only a select few have unrestricted access to every nook and cranny. They’re the guards who roam unobtrusively in dark blue suits, keeping a watchful eye on the two million square foot treasure house. Caught up in his glamorous fledgling career at The New Yorker, Patrick Bringley never thought he’d be one of them. Then his older brother was diagnosed with fatal cancer and he found himself needing to escape the mundane clamor of daily life. So he quit The New Yorker and sought solace in the most beautiful place he knew. To his surprise and the reader’s delight, this temporary refuge becomes Bringley’s home away from home for a decade. We follow him as he guards delicate treasures from Egypt to Rome, strolls the labyrinths beneath the galleries, wears out nine pairs of company shoes, and marvels at the beautiful works in his care. Bringley enters the museum as a ghost, silent and almost invisible, but soon finds his voice and his tribe: the artworks and their creators and the lively subculture of museum guards—a gorgeous mosaic of artists, musicians, blue-collar stalwarts, immigrants, cutups, and dreamers. As his bonds with his colleagues and the art grow, he comes to understand how fortunate he is to be walled off in this little world, and how much it resembles the best aspects of the larger world to which he gradually, gratefully returns. In the tradition of classic workplace memoirs like Lab Girl and Working Stiff, All The Beauty in the World is a surprising, inspiring portrait of a great museum, its hidden treasures, and the people who make it tick, by one of its most intimate observers.

"Struggling to raise her little brother Donal, eight-year-old Wavy is the only responsible adult around. Obsessed with the constellations, she finds peace in the starry night sky above the fields behind her house, until one night her star-gazing causes an accident. After witnessing his motorcycle wreck, she forms an unusual friendship with one of her father's thugs, Kellen, a tattooed ex-con with a heart of gold. By the time Wavy is a teenager, her relationship with Kellen is the only tender thing in a brutal world of addicts and debauchery"--

Winner of the 2006 Orange Prize for fiction, another bestselling masterwork from the celebrated author of Swing Time and White Teeth "In this sharp, engaging satire, beauty's only skin-deep, but funny cuts to the bone." —Kirkus Reviews Having hit bestseller lists from the New York Times to the San Francisco Chronicle, this wise, hilarious novel reminds us why Zadie Smith has rocketed to literary stardom. On Beauty is the story of an interracial family living in the university town of Wellington, Massachusetts, whose misadventures in the culture wars—on both sides of the Atlantic—serve to skewer everything from family life to political correctness to the combustive collision between the personal and the political. Full of dead-on wit and relentlessly funny, this tour de force confirms Zadie Smith's reputation as a major literary talent.

Have we become beauty-blind? For two decades or more in the humanities, various political arguments have been put forward against beauty: that it distracts us from more important issues; that it is the handmaiden of privilege; and that it masks political interests. In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms. Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a "surfeit of aliveness." In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness. Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.

"My house is the red earth; it could be the center of the world." This is Navajo country, a land of mysterious and delicate beauty. "Stephen Strom's photographs lead you to that place," writes Joy Harjo. "The camera eye becomes a space you can move through into the powerful landscapes that he photographs. The horizon may shift and change all around you, but underneath it is the heart with which we move." Harjo's prose poems accompany these images, interpreting each photograph as a story that evokes the spirit of the Earth. Images and words harmonize to evoke the mysteries of what the Navajo call the center of the world.

Reclaiming the Center is a valuable contribution to the study of contemporary evangelicalism. It is a guide for how evangelicals can move forward with wisdom and discernment without succumbing to the spirit of this age.